Tablet weaving by Viscountess Rosalinde Ashworth. Photo by Master Fridrikr Tomasson.
The autocrat of the FFF event in the Shire of Abhainn Ciach Ghlais has made the following announcement. More information about the event is available on the Kingdom website here.
Greetings!
While I was so looking forward to seeing you all, and I am extremely grateful that you were willing to offer your knowledge to FFF, I’m afraid that the hosts of FFF have decided, in light of increasing cases in the hosting county, that FFF should not be held in person this year. We will return to Sieg next year!
Instead, we will return to last year’s virtual format, and to November 20, so we all have time to catch our breath and prepare.
I hope to see you online, and in person next year,
Greetings to all weavers, dyers, tailors, spinners, and textile workers of all persuasions!
The eighteenth annual Fiber, Fabric, & Fun (FF&F) will be held online, on its usual day of November 21, 2020. While we can’t bring you fighting, fencing, fishing, or feasting, we are planning for a day filled with fiber, fabric, and fun.
We are seeking Zoom-friendly classes on all aspects of textiles and clothing, from spinning the fiber to weaving the cloth, to embellishing the fabric, and constructing the garments (bonus points for things I’ve never even thought of).
All participants will receive a schedule with Zoom links several days before the event. Class lists and a draft schedule will be posted at http://www.stringpage.com/fff/fff18-classes.html without the links.
Their Highness’s Gareth Kincade and Juliana Delamere are looking for help from the Populace on their Viking Royal Wardrobe. Are you interested in being involved in making our next Royals look fabulous? Do you have ideas, skills, thoughts to share?
Interested? We like everyone to share with us ideas for wardrobe items that fit the time period, but don’t worry, we have quite a few starting ideas as well. And if you don’t have a specific idea, but would like to participate, we will always find something for you to do. Together, we will find a way to contribute your skill.
Join our Facebook group, AE Wardrobe in progress AS53, to see what’s happening, and get a behind the scenes glimpse of all that is involved in the production of a Royal Wardrobe.
Take a look behind the scenes into the development and production of the Royalty Wardrobe for the summer reign of Duke Sven Gunnarsson and Duchess Siobhán inghean uí Liatháin of the Sylvan Kindom of Æthelmearc, AS 52 to 53 (photos provided by the Royalty).
Want more? Check out our collaboration in detail in The Research behind the Wardrobe, awash with illustrations and resources, and available to download here.
Our Challenge:
By Royal Decree, create three wardrobes which would be plausible in 950 to 1050 AD based on Norse culture and cultures with which the Norse would have been in contact; with minimal Kingdom heraldry. Additionally, for Pennsic Opening Ceremonies, one outfit which emphasized Kingdom heraldry within an overall Norse design.
Wardrobe I – an early Slavic outfit
This wardrobe was inspired by early Eastern European and Russian fashions, specifically as found in the grave field of the Volga region. As many of the typical designs and jewelry choices, like the half moon temple rings, are from a later period, the biggest challenge was to come up with a fashionable design without using the later-period flashy jewelry and elaborate gold-work embroidery.
The Wardrobe Team:
His & Her Garments – medium-weight linen, with silk fabric accents
Head Seamstress THL Lisette la bergiére
Her belt – wool tablet weave
Tablet weave by Lady Genevieve O’Connor
Her veil – lightweight linen, bronze spangles
Assembly by THLCristina inghean Ghriogair
Her belt & neckline – silk fingerloop braids, cowry shells, bronze bells, and spangles
Assembly by Elska á Fjárfelli, OL
Her headband – silk and gold thread brocade, with a linen band and spangles
His buttons – reproduction pewter Gnezdova buttons
Button mold and pewter casting by Artemius Andreas Magnus, OL
His belt & pouch – belt and tarsoley set from 10th century Birka
Designed and assembled by Lord Snorri skyti Bjarnarson
Both – a set of Slavic design knives.
Heft and sheath construction by LordSnorri skyti Bjarnarson
Both – 10th century embroidered turnshoes
Created by Lord Robert of Ferness
Research
Luceta DiCosimo, OL
THL Cristina inghean Ghriogair
Elska á Fjárfelli, OL
Wardrobe II – the Heraldic outfit
Even though heraldic imagery is not typically found in Norse context, as our Royalty would be presiding over Opening Ceremonies at Pennsic we felt that a little Kingdom pride would not be misplaced. To stay within the spirit of the age, the heraldry is artfully hidden within the patterns of the block prints. Her under tunic is carefully pleated around the neckline for that extra sumptuous look.
The Wardrobe Team:
His & Her Garments – medium-weight linen
Head Seamstress Baroness Sybilla Detwyller
His & Her block printing
Design of stamp, carving, and printing by Baroness Sybilla Detwyller
Her heraldic brocaded apron dress trim in red and white silk
brocade design and tablet weave by THL Hrólfr á Fjárfelli
Her pleated under tunic
Design and construction by Chrestienne de Waterdene, OL
His belt & pouch – belt and tarsoley set from 10th century Birka
Design and construction by Lord Snorri skyti Bjarnarson
Research
Baroness Sybilla Detwyller
Chrestienne de Waterdene, OL
Álfrún ketta, OL
Wardrobe III – the Anglo-Saxon outfit
Unlike the Slavic outfit where all the cool accessories are from after our chosen timeframe, in the case of Anglo-Saxon fashion the well-known designs and jewelry — like the shoulder fibulae — are from a much earlier period. To emulate the (ecclesial) opulence of the period this outfit depended heavily on copious metal brocade and embroidery.
The Wardrobe Team:
His & Her Garments – medium-weight linen
General construction by Etain ingen Ruaidri
His & Her silk and metal brocade trim
Brocade tablet weave by THL Silvester Burchardt
Her woolen belt with carved bone buckle and end piece (not worn in picture)
Tablet weave by Lady Genevieve O’Connor
Bone carving by Cynwyl, OL
His belt & pouch – belt and tarsoley set from 10th century Birka
Design and construction by Lord Snorri skyti Bjarnarson
Research
THL Silvester Burchardt
Elska á Fjárfelli, OL
Wardrobe IV – the Norse Rus outfit
Everyone likes block-printed fabrics and we are no different. This design was ideal to highlight the amazing art of one of our artisans, and also to provide the Royalty with single-layer summer weight Pennsic garments.
The Wardrobe Team:
His & Her tunic and dress
Head seamstress Noble Rhys Penbras ap Dafydd
His & Her klappenrock and Birka coats
Seamstress THL Abigale Kelloge
Help with assembly by Michelle DeBuyser
Help with assembly by THL Moniczka Poznanska
blockprinting coat trim by Fredeburg von Katzenellenbogen, OL
His & Her block-printed fabrics
Printed by Freiherr Fridrich Flußmüllner
Her glass bead and embossed silver necklace (not shown in photograph)
Glass beads by Artemius Andreas Magnus, OL
Embossed silver pendants by Rob ‘Rayleon’ Podkowa
His kaftan posaments (not shown in photograph)
Made by Lady Alita of Hartstone
His belt & pouch – belt and tarsoley set from 10th century Birka
Design and construction by Lord Snorri skyti Bjarnarson
Sourcing period correct ball buttons (not shown in photograph)
Countess Anna Leigh
Research
Álfrún ketta, OL
Elska á Fjárfelli, OL
Bonus! Wardrobe V – the Mammen outfit
While the connection between embroidery and Norse culture is not quite as clear as one might hope — with the embroidery remnants more likely being an Anglo-Saxon textile pillaged from a British Isles monastery — the highly embroidered museum-recreated Mammen outfit is too good to be true and makes for an excellent Royal wardrobe.
The Wardrobe Team:
His & Her garments
Head Seamstress Lady Syele Pfeifferin
His & Her Embroidery
The Stag by Lady Aurelie of Nithgaard
The Acanthus Leaves by THL Renata Rouge
The Tree of Life by THL Cristina inghean Ghriogair
His & Her weaving of trim
Tablet weaving by Lady Genevieve O’Connor
Her embroidered turnshoes
Created by Lord Robert of Ferness
His block printing of Large Faces
Fredeburg von Katzenellenbogen, OL
His belt & pouch – belt and tarsoley set from 10th century Birka
Design and construction by Lord Snorri skyti Bjarnarson
Research
Elska á Fjárfelli, OL
The Royal Wardrobes Project was set up in the less-traditional way of utilizing up-and-coming artisans from around the Kingdom. The Wardrobes Project was created as a collaboration between many different artists whom were part of both the initial design discussions and the practical constructions as much as they desired. The Project is set up to be a learning opportunity for all involved and to be a source of additional information, to take home and use for our own personal wardrobe projects. And I hope it will inspire you, too!
Archeon is an open-air living history museum in the Netherlands that hosts a yearly Viking reenactment event, supplementing with re-enactors for additional staff.
I’ve had my eye on this Dutch Viking Week for a few years now, and finally this was the year we could combine a visit to family with a visit to the reenacting event. My sister has attended and vended at this weekend for many years — apparently, she’d waited until we emigrated to the United States before doing the cool stuff. Or perhaps this interest in our early history is from a more recent mindset.
Neither Hrolfr nor I recall any of these events when we still lived there; it wasn’t until we moved to Florida that we encountered our first medieval faire. (And boy, did we like it!) Upon checking, I learned that Archeon is only 25 years old, and since we emigrated 20 years ago I believe the Viking Weekend and similar events really are from after our time.
Arial shot from Archeon, showing the scale of the open-air museum. We were camped in between the two white & red Roman buildings out back.
According to the Archeon website:
“Archeon facilitates the meeting between a diverse audience and the history of the Netherlands in an informative and interactive way. The aim is of providing a nice, fun and above all instructive experience in an as authentic as possible (pre-) historical environment. Archeon manages and presents authentic reconstructions of 43 buildings, several monuments and tools based on archaeological excavations from the Mesolithic (6,000 BC) to the Middle Ages (1,350 AD), to ensure the material and intangible heritage of the Netherlands now and in the future. Expansion of existing knowledge is guaranteed through research and experimental archeology. (pre) Historically dressed Archeo-tolks translate the past into the present in an interactive way, with the primary goals of education and historical fun.”
Hrolfr talking with a Bronze Age interpreter weaving on a warp-weighted loom. She lamented the fact that at her point in time broken diamond twill had not been invented yet, so she was stuck creating plain weave. Each interpreter wore a tunic made of hand-spun hand-woven fabric in natural brown wool, which looked awesome.
Each year, the Viking Week is set up smack in the middle of all these exhibits, infiltrating most of the open spaces of the Early Iron Age, the Roman Era, and the Middle Ages.
During the Viking Week, the regular living history interpreters are present and accounted for, as well as a dozen or so groups of Viking households. The Vikings are expected to adhere to the living history mission of Archeon, and each Viking re-enactor is expected to add, in some way or another, to the overall experience of the paying guest. Because, lest we forget, this is a museum, not an event and its aim is for happy guests, not happy re-enactors. No matter how much fun it is to dress up and talk Viking, it is done so in a job situation and everyone is on the job from 10 am to 5 pm.
Obviously, since we were flying in, we had to bring in our garb by plane and chose not to bring our best outfits as I was worried they would get damaged or lost. My sister had asked permission for us to be part of her business, explaining the situation, and we had been given some leeway regarding clothes, especially shoes.
We were given a 12-page document on what a re-enactor can and can not do to ensure an immersive experience for the guests.
Vikings invading a 1350’s medieval town.
I asked my sister beforehand how period-correct the outfits needed to be. Good enough for Ice Dragon? Or enough to pass at Pennsic? Guess I should not have worried so much.
For instance, starting re-enactors may wear wood clogs at their first (but only their first) event. After that, they are expected to buy historically accurate shoes. But many of the shoes worn by experienced re-enactors were not actually period-correct; they were fantasy Ren-Faire shoes, in natural leather! Fabric seam treatments and minor embroidery was fine although not used nearly as often as in a SCAdian context. And as long as it looked like a tunic or an apron dress, it was fine. What I did notice was that the fabrics used were much nicer than I am used to and there was a LOT of diamond twill… what was up with that?
A sea of diamond twill, it was really hard to contain myself…
Turns out most of the participants get their fabric from the same vendor, who was at Archeon as well. My sister and I went to visit him as it was my goal to bring back a suitcase of fabric this trip. Unfortunately, his fabrics averaged €25 per meter. We had a nice chat, answered many questions about the American SCA, and shared some resources.
What I found noteworthy was that this vendor, who heavily influences the look of the Viking re-enactors he encounters and had much to say about how period-correct his inventory was, based his information on a bibliography barely worthy of Fleur-level research. His customers took him at his word, and were not enticed or even expected to do their own research.
This is something I found across the board with this type of living history re-enactment: the re-enactors would look to the people in charge for what to do and what to use. Research was not encouraged — I mean, anyone could research whatever they wanted, but if it did not adhere to the accepted view (the 12-page book) then it could not be displayed at events. The result of this was that most of the re-enactors looked very similar to each other, and that a number of outfits were based on outdated research. The abundance of solid diamond twill fabric available and the enthusiastic recommendation of the vendor had resulted in an over-abundance of the population walking around in this, in-period but quite scarce fabric type. Nearly all of the diamond twill was two-tone to boot — and the re-enactors could clearly afford to buy it. Apparently, European re-enacting is for the well-to-do.
A German family selling beads and stuff – a way to engage his kids during the “long, boring week” and help them earn Star Wars Lego. At one point, the father did this professionally; now, it is more of a keep-the-kids-busy endeavor.
Curiously, it was the vendors who played with researching objects and techniques. Some vendors, like the fabric vendor, are professionals who travel the circuit. Others would play a merchant for the weekend (maybe that’s how they afforded the garb). This undoubtedly comes from the request that re-enactors have a role to play during the week and many choose the role of merchant. This request is part of the jurying process: the more you have to bring to the event, the more likely you are invited to participate and invited to return.
There were also those demonstrating skills and doing chores; I loved the teenager showing off his dozen built-from-scratch pitch-glued wood arrows, his father whittling small wood saga figures, and camp mates cooking lunch for their Households. During opening hours, visitors could and would ask anything and everything from any person in garb, and each Viking and otherwise was expected to engage positively and deliver some sort of historical spiel pertaining their chore, craft, or wares. The wares for sale were of an odd dichotomy — partially geared towards fellow re-enactors and often of high quality and historical replication, and partially towards tourists.
Viking carving demo.
Something I found a bit disappointing was that there was not much mingling between the groups and households. It seemed like the re-enactors came to the event to play with their household, instead of coming as a household to play at the event. I can see how less out-going personalities would easily get lost without a household, if they would even get into the event.
There was not much socialization even during the communal breakfasts. I had hopes for the communal Saturday dinner (not a feast, it was catered) but instead of the “mandatory” socialization after-dinner can become, the organizers hosted a trivia contest. This was fun in its own way, but by the time it was over I was ready for bed. Of course, me being me, I did get to know some people as it turned out the wife of the fabric vendor did early medieval Baltic, which I surprised her with by recognizing, and the two of use had a great time talking costume after that. Hrolfr had a similar experience — he struck a chord with another lady and the two of them had some great talks about weaving during the weekend.
Hrolfr doing his tablet weaving demo and chatting about weaving. He hooked the warp between the A-frame and his belt, which worked very well.
When I brought up this almost-surly attitude to my sister, she admitted that she was considering starting her own household for the company although she did not find the attitude all that unusual. Since most of the re-enactors were from all over the place, mostly Eastern Europe with some Belgians and Germans mixed in, I could not really lay blame to my Dutch culture. English was not even the common language between many households; often, it was German.
And then it dawned on me: I had gotten used to how easily Americans associate! I am Americanizing. It only took 20 years.
Simon freezing in the Roman Bath, with potted olive trees and some random Vikings in the background.
When asked, the single thing our 10-year-old liked the most was the playground. And let me tell you, the Dutch know how to do playgrounds. It was made of wood, it was huge, it was tall, and had many daring opportunities. I took a look and thought, that does not look safe at all… but then tried to channel my Dutch mom and walked away. He had the best time of his life and had ample playing opportunities with kids speaking many languages, some wearing garb, many not. But since I never thought of taking a picture of the playground while at an open-air museum, I asked him what his second favorite was. And those were the Roman Baths. Where he was allowed to swim, after hours and without a lifeguard. He loved the ambiance, and the responsibility. Only wished it was a little warmer…
The Baltic outfit. That shawl alone was to die for… She commissioned the shawl from an experienced weaver who took three months of weaving eight hours a day to make it. Each wire circlet and tube is woven in one by one.
Did we like the event? Absolutely! And it also made me appreciate the uniqueness of what makes the SCA so valuable. Not only is it much more inclusive — to the less well-off, to the less social — it also actively encourages independent study of the Middle Ages, often resulting in academic-level experimental archaeology.
Vice versa, the SCA could take some pointers from re-enacting and aspire to raise the bar at least a little bit. This visit showed me that there definitely are cultural and social differences between Americans and Europeans, let alone between period-specific re-enactors and the SCA. The Viking period-correct (-ish) camps, populated by Vikings — sans eye glasses, cell phones, and sneakers — doing Viking-y things was quite the immersive experience. It makes some adjustments very much worth it and I am totally ready for more.
What’s up next? How about two weeks as a Viking interpreter at Birka, Sweden… one can dream, right?
After-hours sharing of stories around the fire with family (with Roman graffiti in the background).
Learn how to make inexpensive cording of various thickness and lengths to match your project. Gold twist cording is used in all kinds of embroidery as early as the 15 century. 1 hour. No limit.
Russian Gold Work Embroidery
THL Cristina inghean Ghriogair
We will be learning the basics of how to apply pearls, beads, padding and waste of time (cording) to Russian style embroidery. Kits will contain materials to finish a bag. Kits include: handout, waste of time (cording), pearls, seed beads, padding, cotton cording, needles, 6” hoop, brocade, linen or cotton for backing, lining, bees wax, threads and draw cords. 3 hours. Limit TBA. $20 for kits.
How to Train Your Slate Frame
Lady Cele OM
How to set up a slate frame for embroidery. Knowing which end of a needle is pointy would be useful. Limited number of kits to go from pile of sticks to set up frame available. Unlimited observers. Students will start with the unassembled frame, sew up the embroidery ground cloth, and sew to frame. See why this method was the way to embroider until the 20th Century: the tension is even and holds like the Hoover Dam. Email if you have a frame that you want to get set up. 1 hour. $20 for kits, 5 available. Free to audit. Contact me if you want to use your own frame for special set up kit. (Contact Phiala for email info.)
Couching: The Medieval-est Embroidery Stitch of All!
Mistress Jaqueline de Molieres
An overview of six variations on couching, when and where they were used, pictures, examples, demos. No actual stitching by students, so no supplies required. Students will go away with an understanding of different types of couching and how it might apply to them and their embroidery projects. I will have examples and photos of each stitch and will demo how they are done. Please bring paper and pencil. 1 hour.
Spinning
Support Spindling
Lady Glenna Cholmondeley
This class will explore the history and techniques used to create yarn using a supported spindle. Supported spindles are ideal to use for fine yarns or more delicate fibers that might not stand the weight of a drop spindle (such as cotton or cashmere). Supported spindles and fibers will be provided in the materials, but students are encouraged to bring their own fibers or spindles they would like help with. 1 to 2 hours. $5 for materials.
Fiber Prep for Handspinners
Lady Glenna Cholmondeley
This class will explore different fibers and fiber preparations and strategies for spinning or felting fibers that may be new to the students as well as recognizing which fiber preparations may be best suited for the skill level and desired outcome by the student. Wools, silks, cottons, and other natural fibers will be explored. This class is suitable for all skill levels. Fibers will be provided in the class materials, but students are encouraged to bring their own fiber samples and fiber prep tools to have questions answered and/or suggestions for dealing with problematic fiber preparations and tools. 1 to 2 hours. $2 for materials
Braiding
Skjoldehamn Belt Deconstructed
Mistress Elska á Fjárfelli
Learn to make the 24-yarn, 12-strand braided Skjoldehamn belt, with demos on the braid and plausible ways of wrapping the cord and making the tassels. Includes detailed DIY handout. This is a show and tell class, but if you want to start a braided belt and work on it the weekend, bring 12 bobbins, each of two yarns, of twice the length needed (either kumihimo bobbins or pieces of cardboard – check my blog for more info) and I can get you started: http://bookeofsecretes.blogspot.com/2017/10/how-to-make-12-strand-skjoldehamn-belt.html Class length, limits, materials, and special needs (if any). 1 hour. Limit 5 active braiders, auditors welcome.
Weaving
The Rules of Brocaded Tablet Weaving
Silvester Burchardt
TBA
Tablet-Woven Structures
Silvester Burchardt
TBA
Hair of the Naga: How to Weave Fake Fur.
Lady Cele OM
Early Period fake fur was a way to make a shaggy cloth AND still have a sheep for milking, making more sheep and wool. Knowing what a loom is would be very useful. Students will have a small 2 harness loom to work on during the day. They will go home with a woven sample of cloth and other samples. Samples of cloaks and cloth will be available to examine. Students will have a warped (with hand spun) loom to work with, soft spun yarn for weft and separated locks to insert for the fringe. Another method of making a shaggy cloth will be presented as research in process. 1 hour; can be finished during the day. Limit TBA. Fee for kits TBA.
Inventorying the Inventories: A Quantitative Analysis of Garments and Materials in the Inventories of Isabel of Portugal, Empress of Spain
Baroness Elena de la Palma
Recent publication of the full, unabridged inventories of Isabel of Portugal have allowed unprecedented access to information about what she wore, what it was made from, and what adornments it bore. This class will present the instructor’s work to quantify the garments in the inventories: how many of each garment was owned, how often various materials are used for each, etc. Through this class, the student will gain an understanding of what conclusions can be drawn from these inventories to assist in the construction of clothing from Spain, what this information might mean in the context of broader European clothing context, and the limitations and drawbacks of inventories as source material. Access to a sortable, searchable digital spreadsheet will be provided at the end of class and available to students in perpetuity. 1 hour. No limit. Donation for handout welcome.
Luxury Velvets of the Late Fifteenth Century
Marguerite d’Honfleur
TBA
Hat Foundations
Baroness Therasa du Domrémy
Students will learn about different types of hat construction and specific techniques of the flat pattern method. You will practice the different basic stitches used in millinery work. Then you will use those stitches to sew millinery wire on buckram three ways and sew on trim. You will learn and practice how to sew on pearls so they stay tight and in place for the next 30 years. Students need to bring: A Thimble that fits well, Embroidery Shears. If you have, please also bring: Sewing Wax, Small needle nose pliers, and 4” or 6” embroidery hoop. The Instructor will provide all other items needed. 2 hours. Limit 7. $2 for supplies.
Intro to Knitting: Make a Monmouth Cap
Mistress Irene von Schmetterling
You will learn to cast on, knit, purl, and other essential knitting tasks. Students should bring a skein of worsted or bulky yarn, preferably wool and Double point or 16 inch circular needle in size 10, 11 or 13. Some needles will be available for use during the class. 1.5 hours. Limit 12.
Miscellaneous
A Mary Rose ruler for your period sewing kit
Master Bedwyr Danwyn
This is a make & take class where each student can make a 6 inch ruler for their period sewing kit based on Mary Rose recoveries. Great for public demos as well as actual use. 1 hour. No limit. No fee.
Getting Knotty with Posament, the other other form of Viking Era wire work
Lady Mar’itsa Sumnikova
In this class you will learn the origins of tenntrad, the core spun material whose origins potentially lie with the Saami peoples, explore how it got into Viking hands, and learn the knotting techniques used to create one of the pieces found in Grave 944 at Birka. Open discussion is encouraged during this class, as are questions! Experience with macramé or knotting is helpful but not necessary to attend. Handout, materials provided. 1.5 hours. Limit 12. No fee, but donations welcome if you enjoyed the class.
The BMDL Fiber Guild was invited back to the Children’s Museum of Pittsburgh MAKESHOP on April 29, for a medieval embroidery demo. (This is our sixth demo for the museum!) MAKESHOP is a partnership between the Children’s Museum of Pittsburgh, Carnegie Mellon’s Entertainment Technology Center (ETC) and the University of Pittsburgh Center for Learning in Out-of-School Environments (UPCLOSE). It is a space dedicated to making, reusing and designing things, using everyday materials and real tools. It has regular programs and special guests.
The goal of the demo was to introduce children and their families to medieval embroidery and basic techniques. As it can be a complex topic, there was a lot of fine tuning to make sure the program would be useful to the children who have never done any embroidery and to the more experienced adults. This required the talent and resources of many people to produce a successful presentation.
Mistress Ts’vee’a bat Tseepora Levi, Lady Gesa von Wellenstein, and Lady Rivka bat Daniyal generously donated their time and skills to the demo by teaching the stitches, drawing designs, and assisting with the kids’ take home projects.
Lady Rivka and Mistress Tsvia demonstrating skills to the children.
THL Renata Rouge sent us her embroidery stitch cards, which guided the kids through commonly used stitches using a “connect the dots” method (and the cards rhymed, too). They were so successful, that after the demo the Museum requested to keep a set. Mistress Rowena ni Dhonnchaidh of Coppertree donated a big box of embroidery floss, and we used a lot of it!
Embroidery stitch cards from THL Renata Rouge.
We also had a wonderful display of medieval embroidered items – the Baron and Baroness of the Debatable Lands Hilda and Brandubh loaned their embroidered heraldic hoods, Mistress Antoinette de la Croix lent us two amazing embroidered dresses, Mistress Tsvia brought her Elizabethan blackwork embroidery, Lady Gesa brought several traditional embroidery items, and Lady Rivka submitted her embroidered Ottoman Turkish coat.
Embroidered items display
Children and adults enjoyed the display, took home the embroidered designs they made, and learned about the use of embroidery in the Middle Ages. Great fun was had by the attendees and the demonstrators! We are looking forward to the next demo in the fall.
Photographs taken and article submitted by THL Luceta di Cosimo.
By Elska á Fjárfelli, of the Dominion of Myrkfaelinn
Felt, the oldest known textile used by mankind, is not woven. It needs no loom to make, nor any special equipment or ingredients. Technically, it does not even need mankind. Leave a wild sheep out frolicking in the rain and sun, and felt will inevitably happen. Early man would have seen this: matted wool hanging off the sides of sheep or shed wool stuck to branches subsequently formed by the elements into a mass of fibers. And maybe one day a clever one thought: my rawhide shoes hurt, I wonder, what would happen if I pad it with some of this soft, bouncy stuff lying about?
An Iceland sheep in need of some TLC.
This is the stuff of myths and legends – quite literally. Making felt is older than spinning and weaving, and many cultures have legends about how felt making was invented. Sumerians claimed felt making was invented by their legendary traveler and warrior hero Urnamman of Lagash. Christian legends speak of Saint Clement, the patron saint of hatters, and Saint Christopher, the patron saint of travelers, fleeing from prosecution and footsore and packing their sandals with wool. At the end of their arduous journey, the movement and sweat had turned the wool into felt socks.
A favorite with children is the story of Noah’s ark, where the animals herded together in the Ark shed their fleece and during the voyage trampled it underfoot. When the animals left the Ark, Noah was amazed to find the floor carpeted in felt! In Persia, the discovery of felt is attributed to Solomon’s son, a shepherd. Having seen matted wool up close and personal, he was sure it could be made into fabric without the aid of a loom. But try as he might, he could not make the fibers stick together, and stomped about on the fleece crying large tears of frustration. Lo and behold! He had discovered felt.
Of course, the archaeological evidence points to the existence of felt long before Christian times. Felt is considered to be the earliest man-made fabric, and was critical to the survival of many early communities. However, the legends do contain an element of fact; they all refer to the three things necessary to produce felt: fleece, moisture, and agitation.
In history, felt played a central role in the lives of inhabitants in Central Asia, Mongolia, and parts of the Middle East. These tribes made clothing, saddles, and tents from felt because it was strong and resistant to wet and snowy weather. They also buried their dead covered with felt, and some of the earliest felt remains were found in the frozen tombs of nomadic horsemen in the Siberian Tlai Mountains, dated to around 700 BC. Felt found in the frozen tomb of a nomadic tribal chief from the 5th century BC shows a highly developed technology of felt making. The earliest felt found in Scandinavia was also found covering a body in a tomb in Hordaland, Norway, and is believed to be from about 500 AD. The Roman and Greeks knew of felt as well, and Roman soldiers were equipped with felt breastplates for protection from arrows, as well as felt tunics, boots, and socks.
Because of its weather-resistant properties felt is still in use in many parts of the world, especially in areas with harsh climates. Traditionally, the yurts or tents Mongolian nomads live in are made from felt. Nomadic tribes from South Central Asia also uses felt as tent coverings, rugs, and blankets. In Scandinavia and Russia, felt boots are produced and widely used. The kepenek, a Turkish shepherd’s cloak, is thought to have been in use at least since medieval times and protects the wearer from heat in summer and from cold and wet in winter. In the province of Agri, Turkey, men still wear the traditional kullik, a conical felt cap made from lamb’s wool.
14th century Lappvattnet medieval hat from Sweden, thought to be one of the best preserved medieval hats in Sweden, Scandinavia, and possibly even Europe.
It is generally assumed all felt is made of wool. This is not necessarily the case; for instance, early hat-making felt was produced using animal fur, generally beaver fur. The fur was matted with other fibers — including wool — using heat, pressure, and moisture. Beaver felt hats were made in the late Middle Ages and were much coveted. By the end of the 14th century, hat makers in the Low Countries started mass producing them, thus driving down the price.
A process called “carroting” was invented in the middle of the 17th century by which skins were dried in an oven (over-heated fur would turn carrot-orange), stretched, and sliced off the fleece. This process used a solution of the mercury-containing compound mercuric nitrate. This toxic solution, and the vapors it produced, resulted in widespread cases of mercury poisoning among hatters. The phrase “mad as a hatter” might be more literal than generally realized!
Flaundryssh bever hat (Flemish beaver hat) from The Merchant in the Ellesmere manuscript of Geoffrey Chaucer’s Canterbury Tales, ca. 1410.
The medieval technique of using water to felt fibers is called wet felting. Only certain types of fibers can be wet felted: most types of fleece (like sheep, alpaca, and camel), mohair (goats), angora (rabbit). or hair from rodents such as beavers and muskrats. The reason why these fibers can be felted (and others can’t) is because these fibers are covered in tiny scales. Moisture, motion, and heat within a fleece cause the scales to open while agitation causes them to latch on to each other, creating felt. Plant fibers and synthetic fibers will not do this and thus do not wet felt.
A more modern method of felting uses needles to create the felting effect without using water. The needles have notches along the shaft of the needle that catch fibers and tangle them with other fibers to create felt. Needle felting is used in industrial processes to create large sheets of felt, and in crafting to create three dimensional shapes and adornments.
When choosing felt to recreate medieval garments and accessories, it is good to realize the difference in technique of wet felting and needle felting between modern commercial felt and felt used in medieval times. Medieval felt would mostly be wool or fur based and wet felted, while modern felt is mostly made of synthetic fibers and needle felted.
Keep in mind that while felt is made from scratch, fulled fabrics are first woven and then wet felted, to create a sturdier and more weatherproof woolen fabric. Thus, a woolen fabric can be fulled, but is not a felt; and (pre-)felt is fulled to make felt. Not to be confusing or anything…
How to make your own sheet felt
Start with roving (wool prepared for spinning) of a type of wool that felts well. Not all wool felts equally. A simple but effective way to test this is to take a bit, dampen your palms, and rub both hands together with the roving in the middle. The friction, combined with moisture, will create heat and the wool roving should compact and shrink, and thus felt.
Workshop Felt 101: Layering the roving. All workshop photographs by Elska.
On a large piece of plastic, lay out thin layers of fibers pulled from the roving, all pointing the same way. Expect shrinkage of about 30%, so adjust your size accordingly.
When you’ve made your first layer (left to right), add another layer on top – now going the opposite direction (perpendicular, thus up and down). Having the layers of fibers cross each other helps interlock the fibers more firmly.
When you have about three to five layers, spray warm soapy water over the whole piece, concentrating more of the water in the central area then at the edges. All fibers should be dampened, but not soaked; a little water goes a long way.
With your hands gently rub the fibers together, like a relaxing back massage. Imagine pressing the water into and through the fibers. If you like, lay some tulle or netting – like the bags used for bulk onions or oranges – over the fibers to help with friction.
When the fibers start to tangle or interlock, take another piece of plastic and cover the top. Roll a pool noodle over the whole piece while flat on the table, up to 100 times. The piece can be flipped over and rolled from the opposite side as well.
Then take your noodle and wrap your fiber package around the outside of it, then wrap a towel around that. Secure it, then go sit down and watch a good TV show while continuously rolling this fiber-towel-roll randomly underneath your feet (in front of you) for about 100 times and more.
When you think it is done, unroll the piece and gently pull on a little bit to see how well it has tangled. If the fibers are overly wet it can tear easily, so be careful when removing the plastic. Check for wrinkles which can develop if the piece is not rolled firmly and smooth them out. Remove any excess water by rolling and gently pressing with the towel. Move on to the next step, or let it dry to use later, either on the table or draped over a chair or drying rack. You have just made your first piece of pre-felt.
Workshop Felt 101: rolling the pre-felt with soap and pool noodles.
To full or shrink pre-felt down to its final size:
Remove the pre-felt from the plastic and gently wring it out. If it does not seem very soapy, add some more soap. Wet with hot tap water and wring out again. Rub the pre-felt between your hands until it begins to feel as if it is shrinking. Open it up and check to see how it looks and rub to shrink areas as you go.
This is the fun part: throw the felting piece into the sink about 100 times. Do this at random, letting the piece move around so it hits the hard surface differently each time.
Put some cold water and vinegar into the sink (the acidic vinegar neutralizes the alkaline soap). Submerge the felt and let it soak for a few minutes.
Empty the sink, rub the pre-felt, and throw it some more to shrink it even further.
Heat up water to the boiling point, pour into the sink, add the felted piece and let it soak for a few minutes. Add some cold water until it is just cool enough to put your hands in. Swish the felt around and press the water out.
Drain the sink and fill again, this time with real cold water, and add the felt. Swish around until the felt is cool.
(Repeat the previous two steps if you think it necessary)
Gently press out the water and roll the felt in a towel to remove excess water. The felt can be further dried by ironing it, putting it in the dryer for circa half an hour, or simply by hanging it to dry. Steam can be used to set a three-dimensional shape; a stock pot steamer for felt stuffed with newspapers works while a steam iron works just as well (for more info see links below).
Rolling the pre-felt with feet.
Home-made sheet felt has many uses: a thick mat can be used to sleep on when going a-Viking hiking, or used to make armor. A small piece can be added as insoles to thin-soled turnsole shoes. It can be used to make a rabbit-fur edged Viking hats (with or without the rabbit fur). It can be doubled over, with plastic in the middle, to felt into a bag. It can be molded over a bowl, or a ball, to make all sorts of hats. The possibilities are as endless as your imagination…
DIY pictures are from a workshop I took this summer at ROC Day, organized by the Black Sheep Handspinners Guild of Ithaca, NY. The felting information is summarized from the accompanying handout Introduction to Felting Workshop ROC Day 2018.
by THL Hrόlfr á Fjárfelli of the Dominion of Myrkfaelinn
Tablet weaving is a very popular technique for weaving narrow bands for belts or trim. It is a weaving technique that requires very little investment beyond the actual thread for the product itself, making it affordable for many of us.
Yet, despite its deceptive simplicity, there is an enormous richness in variation, techniques, and concepts to create an infinite variety of beautiful patterns and designs. I can highly recommend getting a copy of Peter Collingwood’s The Techniques of Tablet Weaving.[1] This book is still available in reprint and is an excellent reference book on tablet weaving, both for a beginner and an experienced weaver. Brocading is just one of many tablet weaving techniques that are discussed. Most of the information in this handout is derived from this book and I will stick to his notation as closely as I can.
Brief history
It is hard to say when or where tablet weaving was invented. As Peter Collingwood so aptly says: “a distinction has to be drawn between the earliest known fabrics that could have been tablet woven and those which in all probability were so woven.”[2]
Figure 1: Warp from the Tegle find (Stavanger Museum).[3]
Figure 1a: A diagram showing the starting border and the probable warping method.
In his book, he presents a chronological list of the most important historical finds from the earliest ones in bog burials in modern day Germany dating back as far as the 6th century BC and up to the year 1000 AD, after which too much material survives to make a brief summary feasible.
Given my interest in warp-weighted looms, I find it particularly exciting that the earliest pieces of fabric that are positively identified as tablet woven are from the starter borders of textiles that were woven on a warp-weighted loom. In this context, Figure 1 shows the most unique example that I know of: the Tegle find, a complete warp found in Norway and dated to 445 to 545 AD. See Figure 1a diagram, right, for the starting border and probably warping method.
Another famous example is shown in Figure 2, a linen brocaded band with its warp still threaded to a set of 52 tablets, found in the Oseberg ship burial in Norway and dated to the 9th century AD.
Figure 2: Set of wooden tablets with attached warp from the Oseberg ship burial.[4]
The last example I must include in a class on brocading is the enormous wealth of artifacts found in the archaeological sites of the Viking settlement Birka on the island of Björkö in the Lake of Mälar in present-day Sweden. For almost two centuries, from about 800 to 975 C.E., Birka served as an important trading center between Viking-age Scandinavia and Western Europe and the with the Orient through the trade routes in Russia. Agnes Geijer published an extensive survey of the textile fragments from the Birka graves [5]. This publication contains a complete chapter on the Birka bands (see figures 3 and 3a for examples of some of these bands).
Figure 3: Examples of several Birka bands.[6]
Figure 3a: Several Birka patterns.[7]
Tablet weaving equipment
Tablet weaving is a technique to combine warp and weft by using tablets to create a shed. The tablets can be made from a variety of materials and in different shapes. Historically, commonly used materials include wood, bone, ivory, and leather. Their shape was most often square with rounded corners and a hole in each corner. Their size varied but was typically on the order of 5 cm or 2 inches. A cheap modern alternative is tablets made from playing cards cut to a square with rounded corners and a hole in each corner.
The warp consists of the combined threads through the complete set of tablets, one thread through each hole, so four threads per square tablet (if all holes are used). The number of tablets varies; for brocading, it is often an odd number to allow for designs that are symmetric with respect to the center tablet. To maintain tension on the warp we need a means to secure both ends of the warp at a given distance apart. The simplest way of doing so is by tying one end to your belt and the other end to a fixed object, like a tree or a door knob. When the length of the warp decreases during the weaving, you simply move towards the fixed end. The finished band can be rolled on a peg that is tied to your belt. One advantage is that it requires only the bare minimum of equipment: just a set of tablets and a beater will do. Another advantage is that the weaver has complete control over the warp tension by moving slightly forward or backward. The main disadvantage of this method is the difficulty to weave complex designs or wide bands with many tablets.
Figure 4: My warp-weighted tablet weaving loom.
A more common method has the warp fixed at the endpoints of a wooden board, either clamped in some way or wound around a rod or peg that can be locked in place by a clamp or a ratchet. The weaver sits at one end or on the side, and every now and then the finished warp is collected at the end towards the weaver by loosening both ends, pulling the warp towards you, and retightening it again afterwards. This periodically adjusting of the warp allows for a good body posture with the tablets always within comfortable reach.
Figure 4a: Another view of my warp-weighted tablet weaving loom.
A variation on this concept, the one that I will teach in this class, is by having the warp tension maintained by gravity. The near end of the warp is wound around a horizontal rod, which is locked in place between each readjustment of the warp (in my case by a ratchet at one end of the rod). The far end is hanging freely over a second horizontal rod mounted at the end of a wooden board, suspended by a single weight for each cord (the set of threads through all the holes of a single tablet).
This warp-weighted tablet weaving method has several advantages. The warp tension is very nearly constant during weaving and the weaver has a lot of control on the amount of tension by using different weights. Surplus warp can be braided before tying each cord to its weight, thus giving a lot of flexibility in the total warp length. Buildup twist (the origin of which is discussed below) can be removed easily without untying the weights or removing the warp from the loom. This facilitates weaving designs or using techniques that are not twist neutral without the need to change the turning direction of the tablets periodically (which often leads to a discontinuity in the pattern or a visible change in the surface texture). One big downside that I have found so far is that traveling with a warped loom is not an easy task.
Warping the loom
Figure 5: Warping the loom with one loop through two holes at the time.
Peter Collingwood (2015) discussed several ways of warping the loom. I picked the one that I think is the easiest to learn. The idea is illustrated for tablets with four holes. Clamp the loom in place on a table on one side along the long direction and clamp two boards with pegs at the other end.
Start by going through one of the holes of the first tablet, loop around the horizontal rod near the weaver and go in the opposite direction through the second hole. Keep pulling the thread and wind around as many pegs as needed to get the required warp length. End by tying it to the last peg. Follow the same track around the pegs with the other end and cut and tie it around the last peg as well. Repeat for holes three and four and so on for the remaining tablets.
After completing the warping, surplus warp can be braided such that (after tying on the weights) the ends of the cords hang freely just above the ground. Complete the warping by rotating the loom such that the warp ends hang freely, and then tie on the weights, one at the end of each cord.
After weaving for some time and collecting the woven band on the rod nearest to the weaver, the weights will reach the level of the table. That is the time to feed more warp by loosening part of the braid.
The most important part to remember is to always pass all threads through the holes from the same side of the tablet as seen from one end; otherwise, the tablets will not turn!
Here are some videos showing how the warping is done, beginning with adding the warp threads:
Next, you braid the ends of the warp threads:
Then you tie the weights to the warp threads just above the braids:
As the weaving progresses, you need to periodically undo some of the braiding and lower the weights to allow the warp to advance on the loom.
Each tablet can be threaded in one of two ways, either “Z” or “S,” named after the way the thread direction through the tablet looks when viewed from above. This is illustrated in Figure 6.
Here you are looking at the tablet from above with the bottom of the figure towards you and the top towards the far end of the warp. For brocading the tablets are typically arranged in pairs: one “S,” the other “Z”. This arrangement results in easier turning as discussed in more detail below. With an odd number of tablets, you can leave the tablet at the center unpaired in order to get selvages that are mirrored with respect to the middle, e.g. “SZSZSSZSZSZ.”
Figure 6: “S” (top) or “Z” (bottom).[8]
A wide variety of designs can be woven using a combination of just four variables:[9]
The colors of the threads through each tablet.
The position of these colors in relation to those in neighboring tablets.
The direction in which the thread pass through each tablet.
The direction in which the tablets are turned during the weaving.
Only the first one has to be decided while warping the loom. The other three can be changed at the start or even during the weaving.
Weaving
Tablet weaving in its simplest form is a repeating sequence of just two steps: 1) passing the weft through the shed, and 2) turning the tablets either forward or backward, thus creating a new shed. Here, I limit the discussion to square tablets and quarter turns after each pick.
Figure 7: Forward and backward turning.[10]
For differently shaped tablets or more complicated turn sequences, I refer to Collingwood. The forward and backward turning is illustrated in Figure 7. The shed is formed by the space between the two threads from the top holes and the two from the bottom holes of each tablet.
As a result of turning the tablets, the threads from each tablet will start to twist, thus locking the weft in place.
Figure 8: Twining direction of the cord.[12]
Figure 8 illustrates how turning the tablets is related to the twining direction of the cord.
Turning each tablet clockwise (as shown) will give a “Z” twined cord; turning the other direction will give an “S” twined cord.
If you work this concept out for turning forward or backward with an “S” or “Z” threaded tablet, you arrive at the following table:[11]
“S” threaded tablet
“Z” threaded tablet
Forward turning
“Z” twining
“S” twining
Backward turning
“S” twining
“Z” twining
So, interestingly, both an “S” threaded tablet turned forward and a “Z” threaded tablet turned backwards give a “Z” twined cord.
The easiest way to change the twining direction of the cord is therefore to change the turning direction of the tablets. This is very relevant once you realize that turning the tablets leads to twining of the cord on both sides of the tablets; so, during weaving, you build up twist in the unwoven part of the warp behind the tablets. Without doing something you will end up with so much build-up twist that you cannot turn the tablets anymore. A common solution is to periodically change the turning direction to remove the build-up twist. Looking at the table above, another way to change the twining direction of the cord is to flip the tablets from “Z” to “S” and visa versa around a vertical axis through the center of each tablet.
One advantage –what I consider to be a big one — of warp-weighted tablet weaving with individual weights per cord is that you can easily remove buildup twist without changing the turning direction or tablet orientation. You simply lift the end while keeping tension on the cord, place a finger in the shed behind the tablet, and push out the twist by sliding your finger towards the end of the cord. The weight will spin freely to release the build-up twist.
One last aspect to address here is why most traditional bands are warped with their tablets alternately “S” and “Z” threaded (unless the design dictates otherwise).
Figure 9: Illustrating why two similarly threaded tablets turn with difficulty.[13]
If you look in detail how the threads are moving while the tablets are turned for a pair of neighboring tablets that are threaded similarly, you can see that the threads between the tablets are sliding against each other. (See the left diagram in Figure 9.) The thread through hole 2 in the back tablet and the one through hole 4 in the front tablet rub against each other while turning the tablets. This situation is avoided by threading the tablets alternately “S’ and “Z” as shown in the right diagram of Figure 9. The thread through hole 2 in the back tablet now moves in the same direction as the thread through hole 2 in the front tablet while the tablets are turned.
Brocading
There is a variety of techniques to create color or texture patterns by combining threads of different color in the holes of each tablet with sometimes very complex turning sequences. Brocading distinguishes itself from those in the sense that the pattern is created by an extra weft to create the design. It is discussed in detail and with many historical examples in Chapter 13.2 of Collingwood. The ground weave consists of the warp and the ground or structural weft binding the cords together and hidden in the usual way. Then there is an extra weft passed at each pick to decorate the surface.
This second weft is purely decorative; it has no other function in the woven structure. It lies on top of the band in floats tied down at certain intervals by the warp threads, usually only showing on the top of the band. The tablet woven band merely serves as the support of the brocading weft.
The easiest and the most common way for many Anglo-Saxon brocaded bands as well as the Birka bands illustrated in Figure 3 is to tie down the brocading weft under two threads of one or more cords. This means that the brocading weft floats on top of the band, but at intervals dictated by the desired design, it loops under the top two threads through the regular shed for one or more adjacent cords. When the brocading weft passes through the shed it is, like the ground weft, hidden by the warp and thus not visible from either the top or the bottom of the band. So the brocading weft is sometimes visible and sometimes hidden by the warp, giving us an enormous freedom of design.
We can chose a brocading thread in a contrasting color from the warp or use multiple colors in different parts of the band. We can even use silver or gold thread for the brocading weft, either as flat metallic silver or gold or wrapped around a core like silk. Most of the Birka bands were woven with gold or silver brocade. The ground weft is typically of the same color as the warp. Since it is always nearly invisible it was often made from a cheaper material like linen instead of silk. It is better to use a thinner ground weft thread to get a nice dense brocading coverage. Alternatively, you can use multiple threads as a single bundle for the brocading weft.
Instead of tying the brocading weft by two threads per tablet, you can also go completely around one or more adjacent tablets on the back of the band and then come forward to the front again. This results in a pattern on the back that is the negative of that on the front, which can be more interesting in certain uses for example for a belt.
There are a number of ways to treat the selvages. Quite often there was a stave border on both selvages. The brocading weft would always show at say the second and third and the two and one but last tablet and be hidden for the first and the last tablet. It would pass through the end of the shed just like the ground weft. This will show as small “pips” on both sides of the belt. Alternatively, or to avoid the latter, you can bring the brocading weft to the back between the one but last and the last tablet, then turn the tablets and at the next pick come to the front again between the same two tablets.
To more easily keep track of each pick, I recommend starting with the ground and brocading weft shuttles at opposite sides of the band. For example, start the ground weft on the left and the brocading weft on the right. Then always pass the brocading weft first, followed by the ground weft. Loop the ground weft over the brocading weft at each pick before passing it through the shed. This is not the only way to do it, but I think that it is less important what method you use than it is by picking one and sticking with it consistently. The rest is simply lots of practice.
Below are two examples of my own designs with their brocading diagrams. I make my diagrams in Excel. Setting the row height to 8 and the column height to 1 gives you a nearly square raster that can be colored for tablets where the brocade shows on top and left blank for those where it is hidden by the warp by going through the shed. I cut out an extra “ruler,” the column with numbers all the way on the left. I lay that on the diagram and push it forward one pick at the time. I also number the tablets correspondingly after I warp the loom. That way, I can read the diagram and match the numbers of the tablets where the brocade will show.
Figure 10: Two of my own designs with their brocading patterns.
My blog has a video that illustrates the brocading process the way I do it.
Bibliography
Collingwood, Peter (1982) The Techniques of Tablet Weaving, Echo Points Books & Media (Vermont).
Geijer, Agnes (1938) Birka III: Die Textilfunde aus then Gräbern, Kungl. Vitterhets Historie och Antikvitets Akademien (Uppsala).
Hoffman, Marta (1974) The Warp-Weighted Loom: Studies in History and Technology of an Ancient Implement, Robin and Russ Handweavers.
Endnotes
[1] Peter Collingwood (2015) The Techniques of Tablet Weaving.
[2] Ibid. page 12
[3] Marta Hoffmann (1974) The Warp-Weighted Loom, Figure 69, page 153 and Figure 70, page 154
[4] Peter Collingwood (2015) The Techniques of Tablet Weaving, Plate 5, page 15.
[5] Agnes Geijer (1938) Birka III: Die Textilfunde aus then Gräbern.
[6] Ibid. Plates 22 and 23.
[7] Ibid. Pages 82 and 83.
[8] Peter Collingwood (2015) The Techniques of Tablet Weaving, Figure 27, page 54.
[9] Ibid. Page 54.
[10] Ibid. Figure 29, page 56.
[11] Peter Collingwood (2015) The Techniques of Tablet Weaving, Figure 34, page 57.
[12] Ibid. Figure 33, page 57.
[13] Peter Collingwood (2015) The Techniques of Tablet Weaving, Figure 35, page 58.
For more information, contact THLord Hrolf via his email, and/or see his blog or Academia site.
I don’t generally like doing A&S competitions in the SCA.
By that I mean that they are not my thing to do − but I do believe that for some people they provide the drive to finish work or they provide valuable impartial feedback that they might not get elsewhere.
I would personally rather display than compete, and I would rather teach than display, but every now and then I do opt do toss something out into the ring to see what happens.
I think it is valuable to our members to continue to offer opportunities to compete, but we also need to remember that competing is not a requirement, and people who are uncomfortable with competing in the arts should never feel compelled to do so.
One of my best competition experiences was a couple of years ago, when I participated in the Persona Pentathlon in Atlantia’s Kingdom Arts & Sciences Faire. My experience was so profound that I actually would really recommend a venue like this for those who are seeking to push their boundaries. The competition has you create five items that would have belonged to one historic persona, and you choose your categories from a list of options. Most artisans work easily in a couple fields, but often have to learn something new to make the final entry.
My entries were clothing, weaving, spinning, food, and research. I got a near-perfect score on one item and a fairly low score on another. The one I got the lowest score on was the one I was most deeply invested in, but I was completely okay with receiving that score.
Why? Because the conversations that I had surrounding it were still positive. I was told that the research was very valuable to the SCA. The reality is that item just did not well fit the categories for the competition and was appropriately scored as such.
I still had a wonderful time discussing that with people who came to the table, and that is what was important. That, not some score on a piece of paper, is what made entering that particular item worth while.
What else made even that experience positive, despite that one score? I know how to separate myself from my work, and listen when someone is giving me feedback.
That is a skill that every artisan needs to really take time to nurture. Distance yourself, be open to the criticism, allow yourself to believe that no one is there to deliberately crush your world, and take the advice given and grow from it. Remember that someone took the time out of their day, out of their event, to weigh in on your work.
Most often, the judges are there because they want you to grow as an artisan. It is their goal to aid you on that journey and learning to listen to critique with that in mind can change the entire competition experience. Not everyone is an expert at giving advice, but it you listen to them with the idea that they truly have no ill-will towards you or your work, a great deal more can be taken away from the experience than if one gets defensive from the start.
Even the best mentor or judge out there might occasionally give poor advice, or they might be referencing older research, or they might just be wrong about something. You can absolutely choose not to take that advice, but make sure that it is not a knee-jerk reaction on your own part. It is always okay to ask for resources or clarification. Likewise, it is okay to offer your own resources and clarification, but do so with grace. It is also perfectly okay, at the end of the day, to thank the person for their comments and just move on.
During a more recent conversation about critique, Baroness Kateryne of Hindscroft, OL, pointed out that a middle score in a competition is not actually a bad score. The work is decent, it has room for growth, but it is not “bad.” If the art is fairly new for you, this can actually be a good score to see, as it shows you are on the right track and hopefully the feedback will allow you to take it to the next level when you opt to compete again.
One of the other benefits of entering this specific competition is that I had some very good one-on-one time with the judges. I highly encourage artisans who do want to compete to seek out those competitions that offer that experience.
Allowing you to answer questions as part of the process lets you show your knowledge without them having to read through a tome of documentation (which, let’s face it, can be very, very hard to do at events). It allows for an exchange of ideas as well, something you will not get with a just a take-home judging form. It helps the entrant understand why a score was low and what could be done to raise it the next time. I know Æthelmearc has been offering more opportunities for competitions like this, as well as the ability to get feedback in a competition-free environment. I cannot recommend enough that newer artisans take advantage of these opportunities.
The final reminder that I would like to leave here is that art takes time. Fabulous art takes an exceptional amount of time. Take your time, learn about the art, the items, and the people that used them. Applying context (in terms of social status, occupation, or the lifestyle of the owner) to an object can offer ways to perfect and item or fill in the blanks in the hows/whats/whys that might be missing in the tangible evidence. Enjoy the excitement that comes with exploring an art and growing as an artisan.
